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Srpska Srednjovekovna Umetnost

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Srpska Srednjovekovna Umetnost Srpska srednjovekovna umetnost Umetnost u drugoj polovini XIII veka Doba: kralja Uroša (1243-1276, +1277) kralja Dragutina (1276-1282, +1316) početak vladavine kralja Milutina (1282-1321) Država u doba Stefana Nemanje i Stefana Nemanjića . Prilike u doba kralja Uroša (1243-1276, +1277) Političke prilike na Balkanu sredinom XIII veka opet su se izmenile Bugarska je oslabila pod pritiskom Tatara, Ugarska ojačala i obrazovala Mačvansku i Kučevsko-braničevsku banovinu Najvažnija promena bila je u tome što su Nikejci slomili moć Epiraca i osvajanjem Carigrada 1261. obnovili Vizantiju Od 1272. Vizantija je, ipak, aktivno učestvovala u pokušaju ujedinjenja zapadne i istočne crkve (osporavajući legitimnost srpske crkve) i 1274. potpisala Lionsku uniju Odnosi s Ugarskom bitno su se poboljšali nakon sklapanja braka (verovatno 1268) Uroševog starijeg sina Dragutina sa Katalinom, ćerkom Stefana V koji je 1270. postao kralj Ugarske Sopoćani, Sv. trojica Manastirska crkva i grobnica ktitora kralja Uroša (1243- 1276, +1277) u kojoj su sahranjeni i arhiepiskop Joanikije (1272-1276, +1279) i supruga kralja Stefana Prvovenčanog kraljica Ana Dandolo Vreme osnivanja nije pouzdano utvrđeno, a može se pretpostaviti da je manastirski kompleks podizan tokom šezdesetih godina XIII veka U prostoru kupole, u prstenu između tambura i pandantifa ispisan je fresko-natpis, ali je veoma oštećen i podaci koji su u njemu bili zabeleženi većinom su uništeni Sopoćani, Sv. trojica, arhitektura Crkva ima uobičajenu osnovu raškog hrama, trodelni oltarski prostor (proskomidiju posvećenu Bogorodici i đakonikon posvećen sv. Nikoli), srednji travej, natkriljen uskom kupolom na kockastom postolju, sa bočnim pevnicama, zapadni travej i pripratu uz koju su paraklisi Sv. Stefana (sever) i Sv. Simeona Nemanje (jug) Od ostalih crkava razlikuje se svojim karakterističnim trobrodnim spoljnim izgledom, pošto su svi bočni prostori (proskomidija i đakonikon, pevnice i paraklisi) podvedeni pod jedinstvene jednoslivne krovove Zidana je sigom, omalterisana i obojena u belo, dok je kupola oslikana crvenom i žutom Otvorena spoljna priprata sa zvonikom verovatno je dograđena u vreme kralja Dušana, kada je bila oslikana Vreme zidanja paraklisa podignutih između pevnica i paraklisa uz pripratu nije pouzdano utvrđeno (pomišlja se da su nastali u doba cara Uroša V) Sopoćani, manastirski kompleks . Sopoćani, crkva Sv. trojice, presek i osnova oltar proskomidija posvećena Bogorodici i đakonikon posvećen sv. Nikoli, uz pripratu paraklisi Sv. Stefana (sever) i Sv. Simeona Nemanje (jug) . Sopoćani, crkva Sv. trojice, pogled se jugozapada, ranije stanje . Sopoćani, crkva Sv. trojice, pogled se jugozapada, dosadašnje stanje . Sopoćani, crkva Sv. trojice, pogled se jugozapada, sadašnje stanje . Sopoćani, Sv. trojica, slikarstvo Vreme nastanka slikarstva datuje se posredno u godine između 1272. i 1276. (ranije datovano, prema portretima, u vreme između 1263. i 1268) Slikari su došli iz Vizantije, možda iz samog Carigrada, najtalentovaniji su radili na najistaknutijim mestima, dok su saradnici skromnoga dara radili u slabije vidljivim delovima Scene su većinom komponovane tako da je glavni motiv na središnjem mestu i vertikalno istaknut, dok su sa strane skupine nižih figura koje su pokretima usmerene ka sredini, što naglašava i slikana arhitektura Figure su snažne, odmerenih stavova i pokreta, fino modelovane i prožete klasicističkim duhom U skoro celoj crkvi pozadina je rađena, podražavajući mozaik, zlatnim listićima sa iscrtanom mrežom kvadratića (žuta i plava pozadina samo u bočnim prostorima oltara i u paraklisima) Sopoćani, naos, između 1272. i 1276, južni zid doslikani ktitorski portret Sv. Simeon Nemanja, Simon (Stefan Prvovenčani) i kralj Uroš . Sopoćani, naos, između 1272. i 1276, južni zid, doslikani ktitorski portret, Sv. Simeon Nemanja, Simon (Stefan Prvovenčani) i kralj Uroš . Sopoćani, naos, zapadni zid, doslikani ktitorski portret, Dragutin i Milutin . Sopoćani, priprata, ktitorski portret istočni i južni zid kralj Uroš sa Dragutinom i kraljica Jelena sa Milutinom . Sopoćani, Sv. trojica, program slikarstva u naosu Crkva je dugo bila bez krova i od slikarstva u kupoli, konhi oltara i svodovima ništa nije preostalo Na osnovu očuvanih slika zapaža se da je oltar imao uobičajene predstave, dok su u bočnim delovima ciklusi svetitelja kojima su posvećeni, Bogorodice (proskomidija) i sv. Nikole (đakonikon) Jedinstven je primer načina rasporeda scena tako da se u svakom prostoru našla po jedna osnovna tema: srednji travej- od Blagovesti do Preobraženja, zapadni- od Ulaska u Jerusalim do Vaskrsenja, istočni- posle Vaskrsenja do Silaska sv. duha U donjoj zoni su uobičajene predstave stojećih svetitelja (većinom apostola u pevnicama i ratnika u zapadnom delu), a važno je da su u Službi arhijereja prikazana prva tri srpska arhiepiskopa (Sava I, Arsenije I i Sava II) Portreti u naosu, gde se nalazi horizontalna genealogija Nemanjića, preslikani su verovatno nekoliko godina nakon nastanka prvobitnog živopisa Sopoćani, naos, slikarstvo, pogled prema istoku . Sopoćani, naos, slikarstvo, pogled prema istoku . Sopoćani, naos, slikarstvo, oltar . Sopoćani, naos, slikarstvo, oltar . Sopoćani, naos, slikarstvo, oltar (Sava II, Arsenije I i Sava I) . Sopoćani, naos, slikarstvo, oltar, proskomidija (posvećena Bogorodici ) . Sopoćani, naos, slikarstvo, pogled prema istoku . Sopoćani, naos, slikarstvo, kupola, pandantifi . Sopoćani, naos, slikarstvo, potkupolni lukovi . Sopoćani, naos, slikarstvo, oltar, scene . Sopoćani, naos, slikarstvo, oltar, scene . Sopoćani, naos, slikarstvo, srednji travej, scene . Sopoćani, naos, slikarstvo, srednji travej, scene . Sopoćani, naos, slikarstvo, scene, zapadni travej . Sopoćani, naos, slikarstvo, scene, zapadni travej, detalji . Sopoćani, naos, slikarstvo, svetitelji, srednji travej . Sopoćani, naos, slikarstvo, svetitelji, srednji travej . Sopoćani, naos, slikarstvo, svetitelj, srednji travej . Sopoćani, Sv. trojica, program slikarstva u priprati U slikarstvu priprate izdvajaju se četiri celine: Ciklus Vaseljenskih sabora- kojem je priključen Nemanjin sabor protiv jeretika (istok) Priča o starozavetnom prekrasnom Josifu (zapad) Loza Jesejeva (jug) i Strašni sud (sever) U donjoj zoni, ispod Strašnog suda, predstavljena je scena Smrt Ane Dandolo, dok ostale delove većinom zauzimaju figure svetih monaha i pustinjaka i ktitorski portreti (jugoistočni ugao) U paraklisima prikazani su ciklusi svetitelja kojima su posvećeni, sv. Stefana (sever) i sv. Simeona Nemanje (jug) Sopoćani, priprata, slikarstvo, program (istok, jug) . Sopoćani, priprata, slikarstvo, program (zapad, sever) . Sopoćani, priprata, slikarstvo, ktitorski portret istočni i južni zid . Sopoćani, priprata, severni zid, Smrt Ane Dandolo . Sopoćani, priprata, severni zid, Smrt Ane Dandolo . Sopoćani, priprata, slikarstvo, istočni zid . Sopoćani, priprata, slikarstvo, zapadni zid . Gradac, Blagoveštenje, arhitektura Manastirska crkva i grobnica ktitorke kraljice Jelene Anžujske (+1314), supruge kralja Uroša I Vreme podizanja i oslikavanja crkve nije pouzdano utvrđeno Različito se datuje, u doba pre ili nakon smrti kralja Uroša I (+1277) Crkva je podignuta na mestu starijeg sakralnog zdanja Građena je i ukrašena delimično po uzoru na Studenicu, dok je primer Sopoćana poštovan jedino u posveti bočnih paraklisa sv. Stefanu (sever) i sv. Simeonu Nemanji (jug) Crkva ima uobičajene delove raškog hrama, trodelni oltarski prostor, srednji travej, pokriven kriškastom kupolom na kockastom postolju, sa bočnim pevnicama, potom zapadni travej i pripratu sa bočnim paraklisima Izuzetak čine široka kupola eliptične osnove i gotički elementi- kontrafori oko oltara (koji nemaju nikakvu konstruktivnu funkciju), rebrasti svod nad pripratom, prelomljeni lukovi na vratima i prozorima Zidana je tesanicima sige, omalterisana i bila obojena verovatno u belo Gradac, Blagoveštenje, osnova . Gradac, Blagoveštenje, presek . Gradac, Blagoveštenje, pogled sa jugoistoka . Gradac, Blagoveštenje, zapadni portal . Gradac, Blagoveštenje, slikarstvo Crkva je dugo bila bez krova i slikarstvo je očuvano u malobrojnim fragmentima Ipak se zapaža da su u programu slika ponovljene pojedine bitne odlike studeničke celine koje se ogledaju u rasporedu scena Velikih praznika u naosu U Gradcu se pojavljuju i neuobičajene predstave- Mrtvi Hristos u đakonikonu, ciklus prenosa moštiju nekog od članova kuće Nemanjića u zapadnom traveju naosa U priprati se nalaze ciklus života Bogorodice (zaštitnice hrama) i Vaseljenski sabori Kao i u Sopoćanima, u skoro celoj crkvi pozadina je rađena, podražavajući mozaik, zlatnim listićima sa iscrtanom mrežom kvadratića Slikarstvo je, u poređenju sa Sopoćanima, grublje u tretmanu, pokreti figura življi i ponekad nespretni, lica izražajnija, a u kompozicijama zapaža se težnja ka opširnijoj naraciji Gradac, Blagoveštenje, naos, rekonstrukcija ktitorske slike, pre ili posle 1277. (Hristos na prestolu kome Bogorodica privodi sv. Simona? (bivšeg kralja Stefana Prvovenčanog), kralja Uroša i kraljicu Jelenu) . Gradac, Blagoveštenje, naos, slikarstvo, oltar, đakonikon . Gradac, Blagoveštenje, naos, potkupolni prostor, slikarstvo, svetitelji . Gradac, Blagoveštenje, naos, potkupolni prostor, slikarstvo, scene, detalj . Gradac, Blagoveštenje, priprata, slikarstvo, scene . Kralj Dragutin (1276-1282, +1316) Dragutin je nakon ženidbe sa ugarskom princezom Katalinom (verovatno 1268), po ugarskom običaju, dobio titulu “mladog kralja” Ubrzo je došlo do zategnutosti u odnosima između oca i sina Dragutin je dobio pomoćnu vojsku (ugarsku
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